David Wilson-Johnson

Baritone

"The best of the vocal soloists was British baritone David Wilson-Johnson, a superb singing actor whose sardonic and insinuating, yet always elegantly sung Mephistopheles worked his devilish wiles"

The Chicago Times

"The veteran David Wilson-Johnson is in splendid form"

The Sunday Times

"David Wilson-Johnson was a powerful presence"

classicalsource.com

"David Wilson-Johnson seldom gives a less than admirable performance and he is excellent here as Abner"

International Record Review

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David Wilson-Johnson has been a regular guest of the major opera houses, orchestras and festivals worldwide under conductors including Boulez, Brüggen, Dutoit, Giulini, Harnoncourt, Mackerras, Previn, Rattle and Rozhdestvensky.

He sang for 21 years with the Royal Opera House, Covent Garden, as well as in Amsterdam, Berlin, Brussels, ENO, Geneva, Lyon, Madrid, Monte-Carlo, New York, Paris, Salzburg, Tanglewood and Turin. His major roles included King Priam (Tippett), Merlin (Albeniz), Oedipe (Enescu) and St. Francois (Messiaen).

Recent and future highlights include Mahler’s Eighth Symphony with the Berlin Philharmonic under Rattle and the Beijing Festival Orchestra under Dutoit, Berlioz’s Damnation of Faust with Dutoit in Sydney, Chicago and Philadelphia, Brahms’s Requiem with Previn in London, Oslo, Pittsburgh and NHK Tokyo, Stravinsky’s Oedipus Rex also with Dutoit in Carnegie Hall and throughout Switzerland, and Haydn’s Creation, Beethoven’s Ninth Symphony in Japan with Brüggen, and Schoenberg’s A Survivor from Warsaw with the Philharmonia Orchestra and Esa-Pekka Salonen at the BBC Proms. Recent collaborations with the BBCSO have included Ravel’s L’heure espagnole, Rachmaninov’s The Bells and Tippett’s A Midsummer Marriage (BBC Proms).

He works regularly with Robert King and the King’s Consort with future concerts in Budapest, Bucharest, Versailles, Marseille, Leipzig Gewandhaus (for the first performance of Mendelssohn’s Israel in Egypt), and Ferrandou in the Dordogne valley where he has lived and directed a summer school for singers for the last thirty years.

This biography is for information only and should not be reproduced.

Schoenberg A Survivor from Warsaw (Narrator)

Philharmonia Orchestra / Esa-Pekka Salonen, BBC Proms, Royal Albert Hall (August 2016)

Extremely impressive he was too, clearly enunciating in both English and German the horrors endured by this survivor, and his confusion over his escape to the sewers. Particularly chilling was the lightness with which he delivered the line “Whereupon the sergeant ordered to do away with us“.

Par Penny Homer, bachtrack.com

In London the veteran British baritone [David Wilson-Johnson] brought professional finesse and human passion to speech whose linear contour and pitch are predetermined in the notation.

David Gutman, classicalsource.com

The experienced David Wilson-Johnson was superb in his Sprechgesang delivery…the sheer speed of the Feldwebel’s (German) commands was miraculously done as was the speaker’s powerful shout of “Sh’ma Yisroel” that immediately precedes the choral finale.

Colin Clarke, Seen and Heard International

Vivaldi La Senna festeggiante (La Senna)

The King’s Consort, Wigmore Hall, London (May 2016)

But it was David Wilson-Johnson who had the lion’s share of the virtuosity to negotiate. The baritone was secure in the more challenging numbers such as ‘L’alta lor gloria immortale’, with its racing vocal line, and the pitching in La Senna’s first aria, ‘Qui nel profondo’ was very focused as Wilson-Johnson negotiated the nimble lines in unison with the accompaniment.

Claire Seymour, Opera Today

The King’s Consort played magnificently, while the voice of…David Wilson-Johnson (The Seine) fitted the piece very well.

Sam Smith, musicomh.com

Tippett A Child of Our Time

Royal Liverpool Philharmonic Orchestra, Leeds Town Hall (March 2016)

In the section “A Spiritual of Anger”, this effect was used for a most impressive musical highlight when, with great articulation and emphasis, bass David Wilson-Johnson intonated the spiritual “Go down, Moses” in turns with the choir whispering “let my people go”.

Julia Zupancic, bachtrack.com

Ravel L’heure Espagnole / L’Enfant et les sortileges

l’Orchestre de la Suisse Romande / Charles Dutoit, Victoria Hall, Geneva (October 2015)

It was with the infatuated Don Inigo of David Wilson-Johnson that we were able to appreciate a superb and free voice, a sense of drama and above all perfect French declamation. His voice, without sounding forced, blended perfectly with the defiance of Ravel’s orchestra… [In L’Enfant] David Wilson-Johnson gave himself whole heartedly to the tomcat helped by the growling of the violas and the cellos.

Thomas Muller, bachtrack.com

Ravel L’heure Espagnole (Don Iñigo Gomez)

Boston Symphony Orchestra, Symphony Hall (March 2016)

The opera was also uniformly well-cast, with David Wilson-Johnson, full of comic instincts, as Don Inigo.

Jeremy Eichler, The Boston Globe

Baritone David Wilson-Johnson, the only BSO non-debutante in the cast, sang with clear tone and lucid diction as the old banker Don Inigo, catching the opera buffa spirit with a characterization that combined pomposity with an endearing vulnerability.

David Wright, Boston Classical Review

David Wilson-Johnson, bass-baritone, perfectly conveyed the lyric pomposity of Don Inigo Gomez, the “seigneur puissant”.

Mark DeVoto, The Boston Musical Intelligencer

Berlioz Roméo et Juliette (Friar Laurence), Seattle Symphony Orchestra / Ludovic Morlot

Benaroya Hall, Seattle (May 2015)

The longest vocal solos by far are given to Friar Laurence, the production’s voice of reason (beautifully sung by the resonant baritone David Wilson-Johnson).

Melinda Bargreen, The Seattle Times

David Wilson-Johnson, a dramatic baritone who held the audience in his grip as he sang the narrative role of Friar Laurence.

Philippa Kiraly, City Arts

Walton Belshazzar’s Feast (Narrator), BBC Philharmonic

Leeds Town Hall (May 2015)

As the narrator, baritone David Wilson-Johnson delivered a performance to remember. His recitatives were of an utmost intensity, charismatic and gripping alike.

Julia Zupancic, bachtrack.com

Beethoven Ninth Symphony / Mahler Des Knaben Wunderhorn, Royal Northern Sinfonia

The Sage, Gateshead (April 2015)

There was drama, too: just when you were beginning to worry that the soloists had failed to turn up, baritone David Wilson-Johnson burst through the doors to deliver the bold interruption of Schiller’s opening line: “O friends, not these sounds!”

Alfred Hickling, The Guardian

Players and soloists limbered up with a selection from Mahler’s Des Knabun Wunderhorn, with baritone David Wilson-Johnson getting into full character as a strutting hussar in ‘Trost in Ungluk’ and the grumpy partner in ‘Verlor’ne Muh’.

Gavin Engelbrecht, The Northern Echo

There was delightfully expressive interplay between Atherton and Wilson-Johnson.

Rob Barnes, The Journal

Foroni Cristina, Regina di Svezia (Oxenstierna), Chelsea Garden Opera

Cadogan Hall, London (November 2014)

Top marks for style and meaning, too, as always, to veteran David Wilson-Johnson as a Lord High Chancellor well attuned to the sensitivities of a better number.

David Nice, theartsdesk.com

The seemingly ageless David Wilson-Johnson was at home in the role of the Chancellor Axel Oxenstierna.

Alexander Campbell, classicalsource.com

Britten War Requiem, Three Choirs Festival

Worcester Cathedral (July 2014)

David Wilson-Johnson was more overtly expressive. Of all the principal performers he seemed the most ready to take risks. He made a strong impression from the start with his dolefully expressive delivery of ‘Bugles sang’, the words clear and the tone firm. Later he conveyed graphically the hectoring menace of ‘Be slowly lifted up’. An example of his risk-taking was the venom with which he invested the words ‘May God curse thee’: perhaps it was just a little overcooked but, if so, not by much. His contribution to ‘Strange meeting’ bespoke long experience with this role. In particular, his delivery of the fateful words, ‘I am the enemy you slew, my friend’ and the subtle interaction between the soloists at this point was memorable.

John Quinn, Seen and Heard International

The Midsummer Marriage (King Fisher), BBC Symphony / Andrew Davis

BBC Proms, Royal Albert Hall, London (August 2013)

David Wilson-Johnson was vivid as King Fisher, [Bella’s] blustering, overprotective father.

Hugo Shirley, The Daily Telegraph

The baritone David Wilson-Johnson gave a vibrant performance as the opera’s nominal villain, King Fisher.

George Loomis, The New York Times

David Wilson-Johnson made a sturdy King Fisher.

Richard Fairman, The Financial Times

David Wilson-Johnson gave full value as King Fisher, the wicked businessman who has a heart attack at the end of the piece to serve him right.

George Hall, The Guardian

David Wilson-Johnson stepped in at short notice as the hostile, capitalist King Fisher, a role he hadn’t sung for around a quarter of a century. His character was immediately established and he projected the text better than anyone, especially in his long, blustering solo attempting to bribe the friends of Mark and Jenifer.

Mark Pullinger, Opera Britannia

David Wilson-Johnson, standing in at a week’s notice as King Fisher, was returning to a role he'd last sung 25 years ago. You couldn't really tell, Wilson-Johnson gave a masterly performance, full of character. His King Fisher had all the bombast needed and we could hear all the words. This was true of all three singers in the character episodes (Wilson-Johnson, Ailish Tynan and Allan Clayton) and helped to establish the drama. Wilson-Johnson combines singing 20th century music with a career with period ensembles. This shows in his performance where his navigating of the actual notes was nicely accurate and thankfully lacking that element of bluster. Wilson-Johnson is a fine singing actor and his performance was a master-class in how to make character work in a space as big as the Royal Albert Hall.

Robert Hugill, Opera Today

Clearly and forcefully sung by David Wilson-Johnson, he blusters and bullies his way through the opera, inevitably moving towards his tragicomic end in Act 3.

Chris Garlick, bachtrack.com

David Wilson-Johnson was a late replacement as King Fisher, but you would never have known as he sang with remarkable authority – his tone as full and resplendent as I remember from years' ago.

Keith McDonnell, whatsonstage.com

David Wilson-Johnson, a late replacement and who must now be counted as a veteran, brought great intelligence and engaging enthusiasm to his capitalist villain.

David Gutman, classicalcourse.com

A late arrival in the cast, David Wilson-Johnson was an asset too as the puffed-up businessman King Fisher, forceful in voice and gesture.

Geoff Brown, theartsdesk.com

I Was Glad (Sacred Music of Parry and Stanford), The King’s Consort

Vivat (February 2013)

David Wilson-Johnson’s eloquent and meditative song of Simeon in the Nunc dimittis … homing in on the spirit of the music.

Peter Reed, Classical Source

St Matthew Passion (Bach), Academy of Ancient Music / Stephen Cleobury

Kings Place (January 2013)

The steady increase in the work's overall sense of dramatic tension came mostly from the soloists, a number of whom offered exceptional readings. David Wilson-Johnson’s Christus was authoritatively projected, displaying a keen awareness of Jesus's humanity.

George Hall, The Guardian

Messiah (Handel), The Sixteen / Harry Christophers

Barbican Hall, London (December 2012)

Even more intuitive was David Wilson-Johnson’s connective singing, delivered with full-on theatrical drama straight to the audience. The even, four-shades-black register of his voice was sine qua non for a grindingly sinuous ‘The people that walked in darkness’, and he seemed to carry the whole weight of Handel’s vision with a fabulously interior ‘Behold, I tell you a mystery’ and a heroic and athletic ‘The trumpet shall sound’, with an equally awesome trumpet obbligato.

Peter Reed, Classical Source

The Nightingale (Stravinsky) / L’Enfant et les sortilèges (Ravel)

Boston Symphony Orchestra/Dutoit (October 2012)

David Wilson-Johnson’s baritone voice boomed in the role as the Emperor… It was also surprising to hear the versatile Wilson-Johnson in the role of the broken clock, where his energetic singing of “ding, ding, ding” were a far cry from his commanding tone as the Emperor in The Nightingale earlier that evening.

Aaron Keebaugh, The Classical Review

David Wilson-Johnson brought stentorian majesty to the role of the Emperor… [he] demonstrated a wholly different side of himself, engagingly taking on the parts of a broken clock and an amorous cat: his Duo miaulé with a humorously stiff Diana Axentii was one of the highlights of a very memorable evening.

The Arts Fuse

I was particularly impressed with … David Wilson-Johnson as the Emperor of China.

Mark DeVoto, The Boston Musical Intelligencer

L’Heure espangole (Ravel), BBC Symphony Orchestra/Josep Pons

Barbican, London (October 2012)

David Wilson-Johnson picked his way through and sent up the pitfalls of Don Inigo’s potential for bluster and pomposity with admirable élan, on the back of the open legato and lyricism of his flexible baritone and some lightly anarchic comic timing – at which he is no slouch.

Peter Reed, classicalsource.com

The cast conveyed the wit and sauciness of the score, with its lavish homages to Spain, sex and sensuality… David­Wilson-Johnson a pompously buffo banker.

h Canning, The Sunday Times

Paulus (Mendelssohn), The King’s Consort

Gewandhaus zu Leipzig (September 2012)

With David Wilson Johnson you could not wish for a better Paulus: his clearly articulated German diction perfectly expressed the contrast between his anger at the Christians and the more tender moments of reconciliation which were hauntingly beautiful.

Anja Jaskowski, Leipziger Volkszeitung

A Village Romeo and Juliet (Delius), New London Orchestra

Queen Elizabeth Hall (September 2012)

With his vast English repertoire experience, David Wilson-Johnson was a powerful presence as the haunting Dark Fiddler.

Graham Rogers, classicalsource.com

David Wilson-Johnson’s cleverly characterised Dark Fiddler.

Hilary Finch, The Times

The Dream of Gerontius (Elgar), Sydney Symphony/Ashkenazy

CD (Live recording) ABC Classics ABC476 4297 (May 2012)

Both Lilli Paasikivi and David Wilson-Johnson…are excellent

Andrew Achenbach, Gramophone

Requiem (Fauré), Ensemble Orchestral de Paris/Rolf Beck

Hänssler Classic CD98.628 (July 2011)

[Wilson-Johnson’s] ‘Libera me’ is noble and well projected

Nigel Simeone, International Record Review

Baritone David Wilson-Johnson is in typically fine voice

Christopher Dingle, BBC Music

Athalia (Handel)

Deutsche Harmonia Mundi 88697723172

David Wilson-Johnson seldom gives a less than admirable performance and he is excellent here as Abner, with his extensive range and coloratura skill totally up to the tough demands of ‘ah, canst thou but prove

Roger Pines, International Record review,

The Passion of Mary (H Blake),

Naxos 8 572453, August 2010

Excellent soloists – especially David Wilson-Johnson - bring the texts alive

Matthew Power, Choir & Organ

David Wilson-Johnson provides suitably stentorian delivery of the Prophet’s and Satan’s pronouncements.

Malcolm Riley, Gramophone Magazine

Romeo et Juliette (Berlioz), Tonhalle, Zürich / Charles Dutoit

May 2010

Not only did David Wilson-Johnson bring a vocal strength to the part, so as to step up to the sound of the orchestra, but also the authority needed to perform such a part.

Thomas Schacher, Neue Züricher Zeitung

Elijah, (Mendelssohn), Oxford Bach Choir/Nicholas Cleobury

December 2009

David Wilson-Johnson brought intelligence and feeling to his characterization of Elijah, proving a forceful presence right from the austere opening recitative. I particularly enjoyed his fiery exchanges with the prophets of Baal, and his biting sarcasm and mockery of their “mountain deities”. His fervent pleas for rain were also stirring (…). The aria It is enough, from the second half, depicting Elijah’s despair and frustration, was another highlight.

Simon Collings, Oxford Mail

Jester/Death,(Taverner,Maxwell-Davies)BBC Scottish Symphony Orchestra/Knussen

November 2009

The Stalwart David Wilson-Johnson steals his scenes as Jester (Death), as he should.

The Gramophone

David Wilson-Johnson Opera Repertoire

Adams

Nixon in China (Chou En-Lai)

Barber, Samuel

Antony and Cleopatra (Antony)

Beethoven

Fidelio/Leonora (Fernando)

Berlioz

La Damnation de Faust (Mephistopheles)
Les Troyens (Chorebe)

Birtwistle

Punch and Judy (Choregos/Jack Ketch)

Britten

Billy Budd (Mr Redburn)
Owen Wingrave (Owen)
Peter Grimes (Balstrode/Swallow)
The Rape of Lucretia (Collatinus)

Delius

A Village Romeo and Juliet (Dark Fiddler)

Donizetti

L'Elisir d'Amore (Dulcamara)

Enesco

Oedipe (Oedipe)

Goehr, Alexander

Arianna (Il consigliero et al)

Gounod

Romeo et Juliette (Duke of Verona)

Massenet

Le Jongleur de Notre Dame (Prior)
Werther (Johann)

Maxwell Davies

Eight Songs for a Mad King (King)
Taverner
The Lighthouse (Arthur)

Messiaen

St Francois d'Assise (Francois)

Moussorgsky

Boris Godunov (Tchelkalov)
Sorotchinsky Fair (Devil)

Mozart

Cosi Fan Tutte (Alfonso)
Die Zauberflöte (Sprecher)
La Finta Giardiniera (Nardo)
Zaide (Allazim)

Puccini

Madama Butterfly (Yamadori)

Rachmaninoff

Francesca di Rimini (Lanceotto)

Ravel

L'Enfant des Sortileges
L'Heure Espagnole (Don Inigo Gomez)

Rimsky-Korsakov

Le Coq d'Or (Polkan)
The Invisible City of Kitezh

Schönberg

Die Glückliche Hand (Ein Mann)
Moses and Aaron (Moses)
Von Heute auf Morgen (Der Mann)

Smyth

The Wreckers (Laurence)

Strauss, Johann

Die Fledermaus (Falke)

Stravinski

Le Rossignol (Emperor)
Oedipus Rex (Creon/Tiresias)

Szymanowski

King Roger (Roger)

Tippett

A Midsummer Marriage (King Fisher)
King Priam (Priam)
The Ice Break (Lev)
We come to the River

Wagner

Die Meistersinger von Nürnberg (Kothner)
Tristan and Isolde (Kurwenal)

Weber

Euryanthe (The King)
Oberon
Peter Schmoll

David Wilson-Johnson Concert Repertoire

Adams

The wound dresser
El Nino

Albeniz

Merlin
Henry Clifford

Bach J.S

B Minor Mass
Cantatas including Ich Habe Genug
Christmas Oratorio
Der Friede sei mit Dir
Easter Oratorio
Ich will den Kreuzstab gerne tragen
Magnificat
Mass in A, G, F etc
St John Passion
St Matthew Passion

Barber Samuel

Dover Beach

Bartok

Cantata Profana

Beethoven

Mass in C
Missa Solennis

Berkeley

Mass in C
Missa Solennis

Berlioz

L'Enfance du Christ
La Damnation de Faust
Lelio
Romeo et Juliette

Brahms

Ein Deutsches Requiem
Vier Ernste Gesange

Britten

Cantata Accademica
Cantata Misericordium
Noyes Fludde
War Requiem

Bruch

Odysseus

Busoni

Dr Faustus

Coleridge

Hiawatha

Cowie

A Choral Symphony (written for DW-J)

Dankworth, J

The Diamond and the Goose (written for DW-J)

Debussy

L'Enfant Prodigue

Delius

Idyll
Cynara
Hassan
Mass of Life
Sea Drift
Songs of Sunrise

Durufle

Requiem

Dvorak

Requiem
Stabat Mater
Te Deum

Dyson

The Canterbury Pilgrims

Elgar

Caractacus
Lux Christi
The Apostles
The Dream of Gerontius
The Kingdom

Falla

Master Peter's Puppet Show

Fauré

Requiem

Franck

Les Beatitudes

Grainger

Shallow Brown, and other folksongs

Gorecki

Beatus Vir

Grieg

Dem Bergtekene

Handel

Acis and Galatea
Alexander's Feast
Athaliah
Belshazzar
Joshua
Judas Maccabeus
Messiah
Poro
Riccardo Primo
Samson
Saul
Semele
Solomon
Theodora
Chandos Anthems

Haydn

All Masses
L'Isola Disabitata
Stabat Mater
The Creation
The Return of Tobias
The Seasons

Henze

The Raft of the Medusa
Elegy for Young Lovers

Hindemith

Requiem

Hold

Old Scarlett (written for DW-J)

Holst

Savitri

Honnegger

Une Cantate de Noel

Hughes

Dewi Sant

Ibert

Four Songs of Don Quixote

Janacek

Glagolitic Mass

Knussen

Where the wild Things Are
Higglety Pigglety Pop

Liszt

Hungarian Coronation Mass

Lutoslawski

Les Espaces du sommeil
Tarantella (written for DW-J)

Mahler

Das Klagende Lied
Des Knaben Wunderhorn
Symphony no. 8 (Pater Ecstaticus & Profundis)

Martin

Der Sturm
Golgotha
Et in Terra Pax
Et la Vie l'Emporta
Jedermann Monologues
Requiem

Martinu

The Epic of Gilgamesh

Matthews

The Great Journey (written for DW-J)

Maxwell Davies

Black Pentecost
Eight Songs for a Mad King**
Jacobite Rising
Sea Elegy
Taverner
The Lighthouse (written for DW-J)

Mendelssohn

Elijah
St Paul
Te Deum

Milner

The Water and the Fire

Monteverdi

Vespers of 1610 and 1640

Moussorgsky

Songs and Dances of Death
A Night on a Bare Mountain

Mozart

All Masses
Requiem

Nielsen

Symphony no. 3

Penderecki

St Luke Passion

Petrassi

Beatitudines

Poulenc

Le Bal Masqué

Prokofiev

Lieutenant Kitje

Puccini

Messa di Gloria

Purcell

Come ye Sons of Art
King Arthur
Hail Bright Cecilia
The Faery Queen

Rachmaninoff

Spring Cantata
The Bells

Rameau

Les Boreades (Boree)

Ravel

Deux melodies hebraiques
Don Quichotte a Dulcinee
L'Enfant et les Sortilleges (L'arbre, l'horloge. le chat)
Myrrha

Rossini

Messa di Gloria

Rubbra

Four Mediaeval Lyrics

Schönberg

A Survivor from Warsaw
Die Glückliche Hand
Gurrelieder (Bauer)
Ode to Napoleon
Serenade
Von Heute auf Morgen

Schubert

All Masses

Schumann

Paradies und die Peri
Requiem

Sessions

When Lilacs last in the Dooryard Bloomed

Shostakovich

King Lear
Michelangelo Sonnetts
Symphony no. 14

Sohal

The Wanderer (written for DW-J)

Stanford

Songs of the Fleet
Songs of the Sea
Requiem

Strawinsky

Abraham and Isaac
Canticum Sacrum
Les Noces
Oedipus Rex (Creaon, Tiresias, Messenger)
Pulcinella
Renard
The Flood
Threni
Verlaine Songs

Szymanowski

Stabat Mater

Taverner

The Whale

Telemann

Das Befreite Israel
Der Tod Jesu

Tschaikovsky

Moscow Cantata

Tippet

A Child of our Time
Caliban's Song (written for DW-J)
The Vision of St Augustine
The Mask of Time

Turnage

The Torn Fields

Vaughan Williams

A Sea Symphony
Dona Nobis Pacem
Five Mystical Songs
Hodie
Serenade to Music
Tudor Portraits
The House of Life

Verdi

Requiem

Walker

De Profundis (written for DW-J)

Walton

Belshazzar's Feast
Gloria
Façade

Webern

Cantata no. 2

Weill

Das Berliner Requiem
Mahagonny Songspiel

Wolf

Manuel Venegas
3 Michelangelo Lieder

Zemlinski

Lyric Symphony

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